Short film “Gale: Stay Away From Oz” became an internet sensation back in 2023, but it also left viewers unsatisfied. That viral reimagining of L. Frank Baum’s Oz novels didn’t tell a complete story. Now, Gale: Yellow Brick Road finishes what filmmaker Daniel Alexander started. Like the short, this full-length film covers the journey of one woman after she discovers a magical realm through her elderly mother’s past.
In the years since Baum’s The Wonderful Wizard of Oz (1900) was first turned into The Wizard of Oz (1939), there have been numerous other adaptations. From comics to anime, the Land of Oz is not an obscure destination in storytelling. Some of these takes are more faithful to the source material, whereas many others stray as Victor Fleming’s film did. Gale falls into the second category, seeing as how the film makes dramatic changes that don’t have anything to do with tone. As much as Daniel Alexander excels at creating a severe atmosphere and sustaining somberness, his retelling is hardly the first to walk on the dark side of the yellow brick road.
From start to finish, Gale is quite the gloomy watch. Climate-wise, it’s a bit like Disney’s Return to Oz (1985) if that film didn’t take extended breaks from itself. Which, of course, is necessary in these kinds of reinventions of seemingly more lighthearted stories. Both Alexander and co-writer Matthew R. Ford establish a heavy mood early on that never eases up until the end. And even there, the film leaves a bitter taste in the mouth.
To one’s surprise, Gale resists the trend of gruesomeness that’s now become so intrinsic to modern genre reworkings of public domain media. This film is not a slasher or bloodfest of any kind; there is no carnage here. That’s really one part of Baum’s novel—namely, the bursts of violence—that was glossed over. Having said that, Alexander still doesn’t avoid the habits of conventional horror. Be prepared for a good amount of bland jump-scares that, thankfully, taper off by the end.
As for terror, Gale is impressively persistent about that, albeit not in any way that will frighten an experienced viewer. Thomas Mellor’s intense score plays a pivotal role in upholding the dread on a fundamental level, but after some time, even that grows stale, not to mention failing to be effective anymore. The film faces the risk of being so consistently dire that it’s hard to pluck out any particular moment. Everything is so important that it all feels the same.
As a change of pace, Gale: Yellow Brick Road leans hard into dark and oneiric fantasy more than sheer schlock. Alexander’s vision, while overworked and pretty familiar at this point in the long history of Oz interpretations, at least stays true to itself. The use of tangible creature costumes on actors is welcome as well. On the other side of the brick road, the inflexibly grave tone does the film no favors. It is too overwhelming and weighs on everything. The lack of cool-downs and breathers, plus the hasty pacing, indeed ensures this film is as nightmarish as possible; however, in the long run, not much of this nightmare will probably be remembered once it is over.
Fathom Entertainment will screen Gale: Yellow Brick Road in theaters on February 11.
